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Venice from Another Perspective

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EN
This essay with a clearly personal touch is a narrative anchored in cultural texts which deals with experiencing Venice in a multi-faceted way. Talking about his many years of wandering around the city (in the company of, for instance, Joseph Brodsky) and describing places and architectural details important to him, the author argues that especially the mediation of painting, which also documented the history of Venice, allows for a better understanding of the phenomenon of the city. This fusion of the two modalities of experience is also reflected in the structure of the text, which closes the reflection on the contemporary condition of the city and various threats which Venice has to face.
Pamiętnik Literacki
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2014
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vol. 105
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issue 1
105-141
EN
The article examines the way a bilingual poet Joseph Brodsky translated one of his Russian language poems into English. Taking this lyrical poem as an example, the article aims to identify the poet’s practical approach to translation. It starts by examining how the poet views the poetic form and the translation process, and then proceeds to analyse both texts at different levels of verse structure to allow the reader to compare and understand the semantic functions of the poet’s choices. The conclusion is that, when recreating his poem in English, Brodsky primarily seeks to follow the formal matrix of the Russian original through mimetic translation. By so doing, he effectively “Russianizes” his English while trying to respect the nature of his target language at the same time. The article ends by proposing an interpretation of both texts which shows that, in reality, they are actually quite similar.
EN
The article deals with the influence of Polish literature on the creative work of Joseph Brodsky. The relation of Brodsky’s poetry to Polish sources is shown on different text levels: phonetic, lexical, metrical and intertextual. It is maintained that some elements of Brodsky’s poetic technique are rooted in the works by M. Pawlikowska-Jasnorzewska, L. Pasternak, J. Iwaszkiewicz and M. Hlasko.
EN
The article gives us some insight into the subsequent phases of development of contemporary Russian dramaturgy, which is illustrated by works of selected authors. For over two decades a new generation of playwrights has entered literature and it is this generation that is setting the trend in this sphere. The changes began with the journalistic drama by Mikhail Shatrov, whose debut was still in the Soviet times, and his follower was Aleksandr Buravskiy. The works of Vladimir Voinovich and close to it Joseph Brodsky’s dramaturgy stay on the border of journalist drama and psychological drama of manners. However, the forerunner of new drama was created by Lyudmila Petrushevskaya who preceded the dramaturgy of Alexei Schipenko, Nikolai Kolada, Maria Arbuzova. Further changes of dramatic form could be observed in plays by Yevgeni Grishkovets, Ivan Vyrypajev, the Presnyakov brothers who already belong to a new generation of playwrights.
EN
The present work is devoted to the phenomenon of cognitive metaphor and its role in shaping the emotional basis of Joseph Brodsky’s poetry. Cognitive metaphor in the poem Six years later is considered as an element of a complex mental space (the area of sensory or social experience). The phrases map the system of cognitive mechanisms in Russian consciousness, the metaphorical complex of representation of concepts such as Russian culture purity, humility, depression/ lack of freedom, despair and openness. In the poem these concepts create a kind of metaphorical coordinate system, which is based on the archetypal associations.
EN
The article deals with the absorption of another writer’s poetics in Andrei Dragunov’s poetry. In Dragunov’s Monologica elements of Joseph Brodsky’s poetical method manifest themselves on various textual levels (rhythm, syntax, vocabulary, motifs, topoi). While the author may not consider it a form of borrowing, the reader is well aware of the other poet’s rhythmical, stylistic and ideological influence here. The younger poet seems to have directly appropriated the “alien discourse”, and another’s voice is not presupposed “in the imitator’s plan” (Mikhail Bakhtin, based on C. Emerson’s translation – Ed.). By comparing the two poets’ verses, the author comes to the conclusion that for Dragunov the borrowed form has become the sole and universal vehicle of expression, preserving the characteristics of the aesthetic norm and stylistic model.
RU
В статье рассматриваются элементы чужой поэтики в стихах Андрея Драгунова. В книге Monologica приемы Иосифа Бродского обнаруживают себя на разных уровнях текста (ритм, синтаксис, лексика, мотивика, топика). Если автор не осознает это как заимствование, то читатель видит здесь ритмический, стилистический, идеологический облик чужой оригинальности. Новый поэт как бы присваивает себе чужое слово, и этот другой голос «вовсе не входит в замыслы подражающего» (Михаил Бахтин). В ходе сопоставления стихов двух поэтов мы приходим к выводу, что чужая форма стала для Драгунова единственным и универсальным способом высказывания, сохраняющим признаки эстетического образца и стилистического шаблона.
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